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A Resistance to Langue: Rereading Maxine Hong Kingston

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A Resistance to Langue: Rereading Maxine Hong Kingston A Resistance to Langue- Rereading Maxine Hong Kingston A Resistance to Langue: Rereading Maxine Hong Kingston 0 ZHOU,Yi A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in English (Literary Studies) © The Chinese University of Hong Kong January 2009 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a partial or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. Bibliography Thesis/Assessment Committee Prof. GLECKMAN Jason (Chair) Prof. ZHANG Benzi (Supervisor) Prof. TAY Eddie (Committee Member) Dr. LI Guicang (External Examiner) ^university /^J N^^BRARY SYSTEM//^ Abstract Abstract Researchers tend to explore Maxine Hong Kingston's work from a literary or cultural perspective, focusing on issues such as themes, motifs, characters, identity, female consciousness, immigrant or diasporic concerns. Such research practices often ignore the multi-layered and multi-significance language representation in Kingston's work. Even for those that have engaged in specific analyses of the language aspect of her writing, the discussions are often confined to the narrow scope of limited issues of stylistics or ethnographical debates. In contrast, her choice of language together with its cultural and political implications, especially her language stance, literary strategies and hidden connections with contemporary Western thoughts and academic trends, are rarely touched upon. The purpose of my thesis is thus to investigate the language representation in three of Kingston's works—The Woman Warrior, China Men and Tripmaster Monkey: His Fake Book within the broad context of Asian American literary development and the trajectory of "Post-ism" evolution. My study examines the relationship between Kingston's basic language stance and her specific writing strategies derived from her subject-position as a female Asian American writer. I argue that Kingston's language representation is innately connected to and, furthermore, influences the non-language aspects of her writing: on one hand, her non-language thinking (individual experience, aesthetic consideration and literary expression, ethnic/female consciousness ) determines her choice of language and way of usage; and on the other hand, Kingston has expressed through her language practice non-language ideas and achieved non-language goals~to write the minorness of being an Abstract individual, an ethnic minority and a woman. Kingston's writing position and strategies are thus of dual nature: it resists Langue in a sheer linguistic and especially pragmatic sense, but at an extra-linguistic or non-linguistic (for instance, societal, cultural and ideological) level, it also resists Langue—with langue representing an abstract system of domination. This is indeed a very important characteristic that requires and merits a combined investigation of Kingston language and non-language aspects in one discussion. Thus my basic argument is as follows: in correspondence to some contemporary Western thinking and developing tendency of minority literature, Kingston's mutually interactive language stance and writing strategies share an interest in resistance to Langue; and the three interrelated aspects of returning to the parole, to the body and to the minor not only inscribe her resistance to langue/Langue but also express a tendency of "becoming" and an irreplaceable "minoritarian " position in her writing. Key Words: Maxine Hong Kingston; resistance to langue; parole; body; minor; Asian American Literature; becoming 3 Abstract 摘要 已有汤亭亭研究，多注重从文学、文化角度切入，探讨诸如题材、主题、人 物、身份认同、女性意识、离散现象等文题；而对汤亭亭写作多层面、多意义 的语言现象，并没有予以足够的重视。即或有的研究己涉及到其写作的语言层 面，但多就事论事——就语言谈语言，且仅限于其语言风格、翻译甚至民俗学 的讨论。至于汤亭亭语言选择的诗学问题及其文化政治蕴含，尤其是她的语言/ 文学立场、策略的相互关系，乃至它们与当代西方思想学术潮流的契合关系， 至今仍是尚未触及或未能深入的话题。 本论文旨在以华裔文学发展和当代西方“后思想”的演进为基本学术背景，以 汤亭亭（《女勇士》、《金山客》、《猴王》）中的语言现象为主要研究对象，着重 考察汤亭亭的基本语言立场、策略，与她作为一位华裔女性作家基本写作立场、 策略的关系。我认为，汤亭亭的语言与“非语言”有着内在和互动关联：一方面， 汤亭亭的非语言性思考（个人体验，审美思考、表达，族裔/女性意识等，决 定了她对语言的使用；另一方面，汤亭亭又借由语言操作，表达了一些“非语言 性”乃至“反语言”意图或效果——即通过回到言语、回到身体、回到少数的书写， “生成”了汤亭亭在个人、女性、族裔等层面独有的“少数性”。这样，汤亭亭的 写作立场、策略便具有双重性：在纯语言尤其是语用学意义上，是反语言的； 在超语言尤其是非语言学意义上，如社会、文化、意识形态意义上，也是反语 言的。而这，正是少数族裔、女性写作一个十分重要的特点；也是本论文将汤 亭亭的语言和非语言层面结合起来予以研讨的意义之所在。. Abstract 我的基本论点是：与当代某些西方思想潮流和少数文学的发展趋向不谋而 合，汤亭亭的语言立场、策略与其写作立场、策略，相互影响、促动；以回到 言语、回到身体、回到少数这三个相互关联的语言/写作姿态、方式，构成其从 狭义而至广义的共同的“反语言”倾向，“生成”其不可重复的汤亭亭“少数性”。 关键词：汤亭亭；反语言；言语；身体；少数；亚裔文学；生成 5 Table of Content Table of Contents Abstract 2 Table of Contents 6 Introduction 8 Chapter One: Return to the Parole 22 1.1 The Language Dilemma and Appeal of Asian American Literature 23 Language: Community, Nation and Power 24 Claiming a Right to Standard English 29 Claiming a Right to Multiple Tongues 32 Problems with Previously Mentioned Ways of Resistance 36 1.2 Kingston's Language Choice and Writing Strategies 40 Poetic Language: From Kristeva to Kingston 41 Heterogeneity: Kingston as a Bilingual Writer 44 Diversity： A New Fusion Language 51 Dialogism: From Words to Culture 58 Chapter Two: Return to the Body 73 2.1 From Parole to the Body 76 Langue, Parole, Subject 77 Deconstruction of the Subject: The Maternal Body 79 "Chora"- A Bodily Metaphor for Resistance to Langue 81 2.2 Body-Based Writing 83 Let the Body Speak 84 Female Writers, Body Consciousness 87 Kingston's Bodily and Life Experience 90 2.3 Gaze on the Body-Kingston's Body Writing on Male 93 Objectification: Seeing and Being Seen 94 Objectified Body-From Body to Flesh 96 Objectification as Alienation 99 Body's Spontaneous Resistance: Pain 103 6 Table of Content Chapter Three: Return to the Minor Ill 3.1 Speech Act: Another View on Resistance to Langue 113 Austin: Speech Is Itself a Form of Action 113 Derrida: "Iterability" 116 Judith Butler： A Politics of the Performative 119 3.2 The Revolt of Minor Tongue: On Language Appropriation 122 Performing a "Twin Skin" 123 The Stereotypical Linguistic Reality 127 Insurrectionary Speech Act: Towards a "Parasitic’’ Language 130 3.3 One Man Play: On Minor Writing as Felicitous Political Speech-Acts? 134 A Performance of Identity Politics 136 Minor Writing: A Site for Felicitous Performance? 138 Conclusion 145 Bibliography 153 7 Introduction Introduction This thesis examines language representations in three of Kingston's works The Woman Warrior, China Men and Tripmaster Monkey: His Fake Book in a broad context of Asian American literary development and the trajectory of "Post-ism"® evolution. My study focuses on the relationship between Kingston's basic language stance and her specific writing strategies derived from her subject-position as a female Asian American writer. I argue that Kingston's language stance interacts with her writing strategies. More specifically, the three interrelated aspects of her language/writing stance and strategies一to return to the parole, to the body and to the minor~form an important characteristic of Kingston's work, which I would like to characterize as "resistance to Langue.”� In this regard, Kingston's writing shares with contemporary post-structuralist/post-colonial theories and Asian American literary studies an interest in resistance to Langue. Kingston's Writings and Related Critical Tradition Just after the publication of Chinese American literary anthology Aiiieeeee! in 1974, � The term is coined as a collective phrase to refer to all three theories that start with the prefix "Post"—Post-structuralism, Post-colonialism, Postmodernism. � In this thesis I borrow a set of Saussurean terms~Parole and Langue in the discussion of Kingston's writings. The meaning and usage of both of these words have expanded beyond their original context as demonstrated in Course in General Linguistics and are often referred to in a metaphorical sense. A more detailed discussion of these two terms will be provided later in this chapter in the part of theoretical discussion. 8 Introduction Maxine Hong Kingston's first novel The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976) was released with her China Men appearing the following year. In 1981，Kingston won the National Book Award for China Men and was the first Asian American to win the National Book Critics Circle Award (1997) for nonfiction with The Woman Warrior. In 1989, Kingston followed the memoirs with her novel, Tripmaster Monkey: His Fake Book, which had earned her PEN West award for fiction. With the unprecedented public reception for an Asian American writer, her works, especially The Woman Warrior, have become standard in curricula across the United States and elsewhere. Kingston and her writings have been prominently featured in numerous studies of Asian American literature by critics such as Elaine Kim, Sau-ling Wong, King-kok Cheung, Amy Ling, and Shirley Geok-lin Lim. With her works' popular reception and large impact on academic and culture-at-large, Kingston, as the first Asian American celebrity author, has paved the way for many other succeeding Asian American writers. Amy Tan, for instance, was able to sell paperback rights of her New York Times best-seller, The Joy Luck Club (1989) for $1.23 million and sell film rights, which resulted in the popular Wayne Wang film The Joy Luck Club (1993). Indeed, it is not an overstatement to suggest that Kingston has set the trend for the many Asian American writers to come, and more importantly has influenced the cultural politics of multiculturalism in the United States more than any other Asian American writer. Therefore, as arguably the
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